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O come chiare e belle, HWV143

Introduction

O come chiare e belle is an ‘occasional’ piece directly connected with Ruspoli’s involvement in the War of the Spanish Succession. Pope Clement XI had accepted the Bourbon claimant, Philip V, as King of Spain, thereby rejecting the claim of the Habsburg Archduke Charles and drawing upon himself the wrath of Charles’s brother, the Emperor Joseph I of Austria. In June 1707 Imperial troops secured the kingdom of Naples for the Habsburg cause and, as Milan was already under Austrian rule, the Pope was put into a highly vulnerable position. In May 1708 Imperial troops occupied the Papal town of Comacchio on the Adriatic coast, threatening the annexation of nearby Ferrara and other Papal territories. The Pope protested without effect. By August he was left with no choice but to raise his own troops to defend Ferrara and, if possible, regain Comacchio. The ambitious Ruspoli promptly offered assistance by forming a regiment of 1200 men. Ferrara was duly defended (though Comacchio remained occupied until the end of the war) and Ruspoli received his hoped-for reward by gaining the title of Prince of Cerveteri in February 1709.

Handel’s cantata was performed on 9 September 1708 and celebrates the moment when Ruspoli offered to come to the Pope’s aid. There are three characters. The shepherd Olinto (soprano) represents Ruspoli himself (Olinto was his ‘Arcadian’ pseudonym); the river Tiber (alto) represents Rome, and the allegorical character of Glory (soprano) appears to inspire Rome to renew her ancient greatness. In the imagery of the text this renewal is to be accomplished under the guidance of a ‘clement star’ who is, of course, Pope Clement himself. There are probably several topical allusions which are now obscure, but it may be noted that the references to ‘alba’ (‘dawn’) also allude to Clement (whose family name was Albani) and the rivers Ister and Orontes represent the Austrian and Turkish Empires. (‘Ister’ is the classical name for the Danube; the Orontes was the chief river of Syria. Though Turkey was not directly involved in the war at this time she was a perennial enemy of the Papacy.) The mention of the ‘lance of Jupiter united with Mars’, coupled with the statement that Urania and Clio (the muses of astronomy and history) cannot lie, suggests that there was a conjunction of the two planets at this time, but there was none between July 1707 and September 1709.

The music is full of spirited invention. A brisk and brief opening sonata leads directly into Olinto’s first aria; the image of the waters of the Tiber shimmering in the light of the ‘clement star’ is evoked by delicate overlapping figures in the violins. The Tiber’s awakening (‘Chi mi chiama?’) is accompanied by a bass line in dotted rhythm which Handel later put to good use in Alcina, and the vigorous G minor aria that follows (‘Più non spera) was rightly rescued for Il Pastor Fido. Glory’s first utterance is, surprisingly, a slow aria with a highly embellished vocal line, gently rebuking Rome for its dejected state. Brilliance returns in ‘Tornami a vagheggiar’, which marks the first appearance of the radiant tune best known from the aria in Alcina beginning with the same words. (The ritornellos were used for the aria ‘E pur bello’ in Teseo.) Olinto’s next aria refers to the alarms of war arousing Rome’s ancient heroes, but to avoid anticipating his climax Handel declines to use the obvious imagery and sets it as a formal minuet. After Glory has ecstatically praised the ‘clement star’ Olinto declares he will change his shepherd’s pipes for the trumpet of war and, with splendid effect, Handel adds a real trumpet to the score for the final aria. A brief coro for the three singers concludes.

Olinto: Oh how brightly and beautifully these waters run to the sea, while in the sea Phoebus hides his golden rays. In their soft silver the stars are reflected, and seem to laugh the more in shimmering splendour.

Olinto: But that Clement star which, brighter than all others, is seen to shine with generous light above the nearby hills, revolves and sheds over these waters all its happy aspects. And by its brightness I seem to see that on the banks of the Tiber palms and laurels are springing up once more.

Tiber: In that oblivion in which I have so deeply lain I now hear my name borne upon the air, and so I raise up my weedy tresses from the water to hear the message truly.

Olinto: One of your loyal shepherds from the Arcadian forests am I, who have called upon the joyful aspects of friendly stars in a vow to your great name.

Tiber: Olinto, I see clearly that your love deceives you, and I cannot believe your words, when in the remains of arches and trophies, ruined amid the grass, I see a thousand bitter memories of my greatness, bearing the shame of barbarian insult; I seem always to see, threatening destruction, the armies of the Ister and the Orontes and I can have no thought but anxiety.

Olinto: Fate shall no longer be hostile to you if your hills are gilded by a radiant star no longer seen in heaven, which seems like the daybreak, and will outshine the dawn.

Tiber: I see that bright light which showers an abundance or graces into my lap, but opposed to its beautiful rays I see a dark cloud or dreadful storms.

Olinto: To prevent their outrages see how your starry defender becomes brighter and sheds its provident light over all; see how it opens its heart, and shows there her who, in older and happier times, nursed your sons with the milk of honour, but then with them also lay buried; now, more beautiful than ever, she returns to you, speaks to you: hear her now.

Glory: Yes, I am Glory, that Glory which seemed once to be dead with the illustrious ashes of Catos and Brutuses; today, risen like the phoenix, I am made more splendid and beautiful than ever, not by the rays of the sun but of a star, a star which in conjunction with every auspicious planet has influence only for you; and against the wicked shall take the form of a comet.

Glory: Admire me once again so that with me you shall swiftly regain your triumphs, river of Latium! Since from every cruel disaster you shall be freed by that star which can change your destiny to joy.

Olinto: Tiber, you make no reply? What amazement silences you, now that to your former greatness Glory recalls you and Fame echoes her words? From one pole to the other Fame carries in flight the clear pronouncement on her generous trumpet of so fair a Glory, and you seem not to hear?

Olinto: At the sound which the alarms of war awaken the shades of your sons rise from the dead. And may the breezes seek out the many sparks of noble fire which remain alive beneath the ashes of your ancient heroes.

Tiber: In amazement, in joy, my heart was dazzled with the radiant lightning, oh beauteous Glory, of the unexpected rays which you have shed over these shores; now fully awakened I am ever ready to love you and follow you.

Glory: Follow me, for you shall see today how, more than ever, I shall be your guide and leader to the palms of victory, with that uneclipsed light granted to me by a golden star.

Tiber: See, I am ready to follow your commands, for the Tiber is always victorious when he follows where Glory beckons.

Glory: Not empty are the prospects of such well-founded hopes, for, to bring you safety, I have seen for you in heaven Jupiter’s lance joined with Mars. Meanwhile, oh Tiber, be joyful; enjoy on earth happier and sweeter times, while I, to prepare the way, return to that star that holds the key of heaven.

Olinto: Tiber, I have told you truly that I have made ready your locks for new laurels, nor could my lips lie if Urania and Clio have taught me the words.

Tiber: Gentle shepherd, my shore will always be grateful to you, and for your white lambs it will always be rich with fresh grass.

Olinto: A richer pasture your shore must prove to the flock of all the earth if the shepherd who governs it can unite the world within one sheepfold; and so, meanwhile, to pay a small tribute to its vaunted fame I would, adopting another style, exchange for a trumpet my humble reed pipe.